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uuicorzu
ALL IT TAKES IS BREAD AND WINE
Spring Excites DC#s Outgoers
There is plenty to lure the casual enter-tainment
freak during this balmy month.
For one thing, it will become increasingly
intolerable to sit inside the winter pad and
sulk in front of the idiot box. Outside,
man, and swining into new things. It will
make you feel like a new man (or woman,
as the case may be).
Most of the outdoor pations will even be
open, where you can open a copy of the
Unicorn and decide what to do later.
The great excitement in the contem-porary
music field may be George Carlin at
Shady Grove April 5, and surely John Den-ver
ver at Capitol Centre April 12, 13 (New up
to 4 shows those two nights). Bonnie
Raitt comes to McDonough Arena at George-town
University April 19 and if this hasn't
taken all your bread, Louis Bellson will ap-pear
with the big band at the Bayou on
April 27, after haviftg been at Kennedy Cen-ter
with his' wife Pearl Bailey for a week be-ginning
April 7.
In classical music, there may be even
more of the big events. Surely Aaron Cop-land
conducting an evening of his music
at the Concert Hall is great news for April
5. Antal Dorati conducts the National
Symphony with Isaac Stern, violinist.
April 22, 23, and 24. And there are a
dozen great soloists appearing at Kennedy,
Constitution Hall, Lisner, or where have
you. Are there any more devoted music
lovers than the Elizabeth Schwarzkopf fans
who will crown the Concert Hall April 15?
Theater is almost overwhelmed by this
glittering musical assemblage despite the ap-pearance
of Glenda Jackson in the Royal
Shakespeare Company's production of
Ibsen's "Hedda Gabler". Earlier, at the
Eisenhower, Douglas Fairbanks, Jr., will be-gin
to do his thing in Noel Coward's "Pre-sent
Laughter" and Fairbanks' fans (All, I
suspect, ladies of a 'certain age' with
blued hair) will enjoy a rejuvenation not
expected since Ponce de Leon. Dinner
Theaters are doing good business with
"The Boy Friend" at the Harliquin, "Damn
Yankees" at Burn Brae, "Mame" at Colony
7, "The Owl and the Pussycat" at Hayloft,
and "Last of the Red Hot Lovers" at Villa
Rosa. Many others have enjoyable offerings
and we recommend you pick your own thing
from our listings.
The Dance gets an exceptional month
with the early month recitals by the New
York Ballet Company, with its towering
director and its array of stars. Later comes
Martha Graham to Lisner April 11, 12, and
13, and Martha's work in Modern dance is
that of a source book. She is the grande
dame, the fountainhead, or whatever super-latives
you choose. The DC Reperatory
Dance Company is on hand May 2 at Lis-ner.
Quieter people, who enjoy the beauty
of paintings and sculpture, will find a good
month here. At the Corcoran, along with
their annual ball, is a showing of the works
of Helen Frankenthaler. In fact it is almost
a woman's month with Mavera Mock Mor-gan
at the Arts Club, Dorothy Preston at
Adams Davidson,-Anne Ballou at Gallery
4, Maxine Cable at Gallery 10, Dee Church
at the Goldman, Graciela Doulanger at
Bencsik, Carolyn Huff at Studio Gallery.
However, there are still good men in the
field. J. P. Evans is also at the Adams
Davidson, and at the Bridge Skip Walker
and Robert Aselage have a new show. David
Moore is at Hallway, Walter Bohanan is at
Phillips, Lowell Nesbitt with his organic art
at Pyramid and, even, that sturdy American
James Audubon, with his lithographer and
his birds at the Smithsonian.
Its a good month, perhaps, for some
quiet introspection. The shad are running
in the Potomac and even up Rock Creek. A
pole and shad hooks up stream will get in
some great eating and, if you know how
and know the whereabouts of a Hickory
plant, a fantastic evening by an open fire
cooking them. The White Perch are far-ther
down the Potomac and it would be
easier to find them at the headwaters of
the South River between Bowie and Anna-polis
on Route 50. It would be worth a
EMMY LOU HARRIS
By BILL HOLLAND
Emmylou Harris, Washington's favorite country and
folk singer for the last few years, has landed herself a
best selling album called "Pieces of the Sky " on Re-prise
Records! Yaay! Eighty four with a bullet in Bill-board!
Yaay!
Plus a full-page positive and glowing review in Roll-ing
(genuflect) Stone! Ditto in the lesser journals and
newspapers! (Except for that nasty bit of bushwa in
the March 24th issue of the Village Voice. Booo!)
Not only that, if one is to take in-house opinion into
consideration, the Higher-Up Mucky Mucks at Warner-
Reprise think she's Superkeen. They turned out in
droves to hear her at North Hollywood's Palomino club.
Yaay !
All in all, Emmylou and her new album are causing
more hubbub than any Washington artist since Roberta
(genuflect) Flack hit the scene in 1970.
But friends and fans, things weren't always cooking.
It's been a long haul and she had to hardnose the high-way.
Less than three years ago, in an article about the
singer, Washington Post writer Tom Zito asked a ques-tion
a number of Washington music listeners were to
also ask as the months and years passed—"why isn't
she rich, famous and selling millions of records every
year?"
Prior to his article, which certainly helped her career
locally, Emmylou was an unknown here, working the
"listening room"circuit, putting up with Brooks Bros,
bozos who frequented the gloomy and often empty
rooms like the now-defunct Clyde's back room and )
Capitol Hill's Assembly, now inoperative also.
But regardless of the initially small crowds, often ■
rude enough to shout out for sing-along material, she ,
possessed a sense of dignity onstage that was close •
enough to being strong yet refined that she was able to
project her singing style without pandering to her au-dience,
or intimidating them either. She had and still
has a lovely voice, and she is able to communicate with
disarming sincerity a belief in the words of the songs
she sings.
So people began to pay attention to this woman
with the voice that could shiver your timbers with its
purity and make you chuckle when she honky-tonked
her way through an old Hank Williams classic. Musi-cians
began to hear about her. Bluegrass groups like the
Seldom Scene and folk singers like Bill and Taffy Dan-off
would come to hear her
her way through an old Hank Williams classic. Musi-cians
began to hear about her. Bluegrass groups like the
Seldom Scene and folk singers like Bill and
Taffy Danoff would come to hear her. (In
New York during the late Sixties, she had
also gained a reputation among musicians
like David Bromberg and Paul Seibel). It
was in Washington that she met Chris
Hillman and Gram Parsons, then of the
Burrito Brothers. Whenever they'd come
to town for a concert, they'd search out
Emmy-lou afterwards, who'd be playing
in a club.
I can remember seeing Gram Parsons
listening to Emmylou in Clyde's back
room. There were less than 20 people in
the club, and only a handful had any idea
who Parsons was when he got onstage
to sing a few duets.
A year later, Emmylou got a big break.
She was asked to sing on Parsons' first solo
album, "G.P." She accepted the invitation,
and spent many hours just singing songs
with Gram. She was asked to go on the
road with the group when Parsons went on
tour following the release of the album.
published a short item in the Random
column soon after, blowing up a piece
information saying that the widow was
happy about a photo of Emmylou and
Gram on a motorcycle to be used on the
second Parsons' album, "Grievous Angel."
In callous show biz terms, one might
presume that the item did nothing but heigh
ten the visibility of Emmylou to Warner-Re-prise
record execs, for a few months later
they offered her a good contract to the
label and she signed. It certainly wasn't the
only contract she'd been offered since she
got out of her initial contract with the de-funct
Jubilee label back in the Sixties. This
association yielded her first album a dismal
affair produced by Columbia pop records
arranger-conductor Ray Ellis, who was also
culpable for the syrupy "Lady in Satin,"
one of Billy Holiday's last recordings. But
the Warners-Reprise offer was far and away
the best.
A good contract does not a rich perfor-mer
make, however, as anyone who has
Then came Parsons' tragic death and the taiked to recording artists will tell you. Out
unsavory publicity concerning the crema- 0f one's "advance" comes studio costs,
tion of his body by friends. Rollings Stone S„ee E,-,M„.,M..•Y„LrO~U,T onP„agel,O«
tine Sunday to drive to the mountains to
look for a secluded campu spot for the hot
months, or to the Bay and climb around
marinas dreaming of a new boat or query-ing
old timers about the prospects for crabs
this year. (Crab time begins when the Lo-cust
trees bloom, so stop by the road and
examine the buds.)
It's a good month for Montrose Park
and for rapping in Dupont Circle. It's a
good month for sitting on a bench and
brown-bagging the lunch and any number of
restaurants will provide the brown bag filled
with goodies.
In the evenings, when you feel the urge
to go out among people there are the Ameri-can
Bagpipers at the Dubliner on Thursdays.
At Bogies is "Angel" a new name for War- •
bux, Donal Leace holds forth at Tenley
Circle's Mr. Henrys. The Night Hawks and
Sinbad split the month at the Bayou, the
Bill Blue Band is coming to the Childe
Harold, and the Goins Brothers and the
Country Gentlemen are due in at Williams
in Alexandria.
The Free State Jazz Band is at the Twin
Bridges Marriott (Now will it be called the
tri-bridges, or the quartro-bridges) and Fus-ion
is at the Cellar Door. Marshall Hawkins
and all sorts of jazz goodies are at the Rogue
and Jar. The Seldom Scene will make a
seldom seen appearance at the Red Rox
three times in April and the Stoneman
family, once playing all over Washington,
is back at Williams for a now rare appear-,
at
ance. Windwater will be at the Psychedelly
for a number of dates and John Wells stur-dily
holds down the Corsican. Danny Gat-ton
and the plump rascals are both at the
Childe Harold early in the week and then
have some dates at the Varsity Grill in Col-lege
Park.
More information can be had on all of
these inside the paper. See Who's Appear-ing
Where for Music, Theaters are listed
under Theatre Calander and, would you
believe. Art is under Art Exhihits. The
Unicorn made its deadline and all's well
with the world.
JAZZ AT THE SMITHSONIAN
. The National Jazz Ensemble, the most
highly praised of the several new repertory
jazz orchestras in the United States, will be
appearing in concert at the Smithsonian In-stitution
on Sunday, April 13.
The Ensemble, founded and conducted
by bassist-composer Chuck Israels, made its
debut at Wolf Trap Farm Park in June 1973
in a concert which it shared with Sarah
Vaughan. A standard jazz "big band" in
size and instrumentation, the group now
has selections in its repertory ranging from
"Jelly Roll" Morton and Louis Armstrong
through Thelonious Monk and Ornette Col-man,
and includes the music of Bix Beider-becke,
Count Basie, Duke Ellington, Char-lie
Parker, Dizzy Gillespie, Gil Evans, and
John Coltrane as well as Lester Young,
Charlie Christian, Miles Davis, John Lewis,
Horace Silver, and many other jazz com-posers
and performers from all eras and
styles of the music.
The Ensemble is a group of professional,
full-time jazzmen and features such solo-ists
as trombonist Jimmy Knepper (for-merly
with Charles Mingus, among others)
and tenor saxophonist Sal Nistico (who
first came to prominence with Woody Her-man).
The Ensemble will offer both its educa-tional
workshop and it£ concert repertory
in Washington. The free open-to-the-public
workshop will be held at 4:30 and a full
concert at 8 p.m. Bot£ events will be held
in the auditorium of trie Natural History
Museum at 10th and Constitution Avenue,
NW.

uuicorzu
ALL IT TAKES IS BREAD AND WINE
Spring Excites DC#s Outgoers
There is plenty to lure the casual enter-tainment
freak during this balmy month.
For one thing, it will become increasingly
intolerable to sit inside the winter pad and
sulk in front of the idiot box. Outside,
man, and swining into new things. It will
make you feel like a new man (or woman,
as the case may be).
Most of the outdoor pations will even be
open, where you can open a copy of the
Unicorn and decide what to do later.
The great excitement in the contem-porary
music field may be George Carlin at
Shady Grove April 5, and surely John Den-ver
ver at Capitol Centre April 12, 13 (New up
to 4 shows those two nights). Bonnie
Raitt comes to McDonough Arena at George-town
University April 19 and if this hasn't
taken all your bread, Louis Bellson will ap-pear
with the big band at the Bayou on
April 27, after haviftg been at Kennedy Cen-ter
with his' wife Pearl Bailey for a week be-ginning
April 7.
In classical music, there may be even
more of the big events. Surely Aaron Cop-land
conducting an evening of his music
at the Concert Hall is great news for April
5. Antal Dorati conducts the National
Symphony with Isaac Stern, violinist.
April 22, 23, and 24. And there are a
dozen great soloists appearing at Kennedy,
Constitution Hall, Lisner, or where have
you. Are there any more devoted music
lovers than the Elizabeth Schwarzkopf fans
who will crown the Concert Hall April 15?
Theater is almost overwhelmed by this
glittering musical assemblage despite the ap-pearance
of Glenda Jackson in the Royal
Shakespeare Company's production of
Ibsen's "Hedda Gabler". Earlier, at the
Eisenhower, Douglas Fairbanks, Jr., will be-gin
to do his thing in Noel Coward's "Pre-sent
Laughter" and Fairbanks' fans (All, I
suspect, ladies of a 'certain age' with
blued hair) will enjoy a rejuvenation not
expected since Ponce de Leon. Dinner
Theaters are doing good business with
"The Boy Friend" at the Harliquin, "Damn
Yankees" at Burn Brae, "Mame" at Colony
7, "The Owl and the Pussycat" at Hayloft,
and "Last of the Red Hot Lovers" at Villa
Rosa. Many others have enjoyable offerings
and we recommend you pick your own thing
from our listings.
The Dance gets an exceptional month
with the early month recitals by the New
York Ballet Company, with its towering
director and its array of stars. Later comes
Martha Graham to Lisner April 11, 12, and
13, and Martha's work in Modern dance is
that of a source book. She is the grande
dame, the fountainhead, or whatever super-latives
you choose. The DC Reperatory
Dance Company is on hand May 2 at Lis-ner.
Quieter people, who enjoy the beauty
of paintings and sculpture, will find a good
month here. At the Corcoran, along with
their annual ball, is a showing of the works
of Helen Frankenthaler. In fact it is almost
a woman's month with Mavera Mock Mor-gan
at the Arts Club, Dorothy Preston at
Adams Davidson,-Anne Ballou at Gallery
4, Maxine Cable at Gallery 10, Dee Church
at the Goldman, Graciela Doulanger at
Bencsik, Carolyn Huff at Studio Gallery.
However, there are still good men in the
field. J. P. Evans is also at the Adams
Davidson, and at the Bridge Skip Walker
and Robert Aselage have a new show. David
Moore is at Hallway, Walter Bohanan is at
Phillips, Lowell Nesbitt with his organic art
at Pyramid and, even, that sturdy American
James Audubon, with his lithographer and
his birds at the Smithsonian.
Its a good month, perhaps, for some
quiet introspection. The shad are running
in the Potomac and even up Rock Creek. A
pole and shad hooks up stream will get in
some great eating and, if you know how
and know the whereabouts of a Hickory
plant, a fantastic evening by an open fire
cooking them. The White Perch are far-ther
down the Potomac and it would be
easier to find them at the headwaters of
the South River between Bowie and Anna-polis
on Route 50. It would be worth a
EMMY LOU HARRIS
By BILL HOLLAND
Emmylou Harris, Washington's favorite country and
folk singer for the last few years, has landed herself a
best selling album called "Pieces of the Sky " on Re-prise
Records! Yaay! Eighty four with a bullet in Bill-board!
Yaay!
Plus a full-page positive and glowing review in Roll-ing
(genuflect) Stone! Ditto in the lesser journals and
newspapers! (Except for that nasty bit of bushwa in
the March 24th issue of the Village Voice. Booo!)
Not only that, if one is to take in-house opinion into
consideration, the Higher-Up Mucky Mucks at Warner-
Reprise think she's Superkeen. They turned out in
droves to hear her at North Hollywood's Palomino club.
Yaay !
All in all, Emmylou and her new album are causing
more hubbub than any Washington artist since Roberta
(genuflect) Flack hit the scene in 1970.
But friends and fans, things weren't always cooking.
It's been a long haul and she had to hardnose the high-way.
Less than three years ago, in an article about the
singer, Washington Post writer Tom Zito asked a ques-tion
a number of Washington music listeners were to
also ask as the months and years passed—"why isn't
she rich, famous and selling millions of records every
year?"
Prior to his article, which certainly helped her career
locally, Emmylou was an unknown here, working the
"listening room"circuit, putting up with Brooks Bros,
bozos who frequented the gloomy and often empty
rooms like the now-defunct Clyde's back room and )
Capitol Hill's Assembly, now inoperative also.
But regardless of the initially small crowds, often ■
rude enough to shout out for sing-along material, she ,
possessed a sense of dignity onstage that was close •
enough to being strong yet refined that she was able to
project her singing style without pandering to her au-dience,
or intimidating them either. She had and still
has a lovely voice, and she is able to communicate with
disarming sincerity a belief in the words of the songs
she sings.
So people began to pay attention to this woman
with the voice that could shiver your timbers with its
purity and make you chuckle when she honky-tonked
her way through an old Hank Williams classic. Musi-cians
began to hear about her. Bluegrass groups like the
Seldom Scene and folk singers like Bill and Taffy Dan-off
would come to hear her
her way through an old Hank Williams classic. Musi-cians
began to hear about her. Bluegrass groups like the
Seldom Scene and folk singers like Bill and
Taffy Danoff would come to hear her. (In
New York during the late Sixties, she had
also gained a reputation among musicians
like David Bromberg and Paul Seibel). It
was in Washington that she met Chris
Hillman and Gram Parsons, then of the
Burrito Brothers. Whenever they'd come
to town for a concert, they'd search out
Emmy-lou afterwards, who'd be playing
in a club.
I can remember seeing Gram Parsons
listening to Emmylou in Clyde's back
room. There were less than 20 people in
the club, and only a handful had any idea
who Parsons was when he got onstage
to sing a few duets.
A year later, Emmylou got a big break.
She was asked to sing on Parsons' first solo
album, "G.P." She accepted the invitation,
and spent many hours just singing songs
with Gram. She was asked to go on the
road with the group when Parsons went on
tour following the release of the album.
published a short item in the Random
column soon after, blowing up a piece
information saying that the widow was
happy about a photo of Emmylou and
Gram on a motorcycle to be used on the
second Parsons' album, "Grievous Angel."
In callous show biz terms, one might
presume that the item did nothing but heigh
ten the visibility of Emmylou to Warner-Re-prise
record execs, for a few months later
they offered her a good contract to the
label and she signed. It certainly wasn't the
only contract she'd been offered since she
got out of her initial contract with the de-funct
Jubilee label back in the Sixties. This
association yielded her first album a dismal
affair produced by Columbia pop records
arranger-conductor Ray Ellis, who was also
culpable for the syrupy "Lady in Satin,"
one of Billy Holiday's last recordings. But
the Warners-Reprise offer was far and away
the best.
A good contract does not a rich perfor-mer
make, however, as anyone who has
Then came Parsons' tragic death and the taiked to recording artists will tell you. Out
unsavory publicity concerning the crema- 0f one's "advance" comes studio costs,
tion of his body by friends. Rollings Stone S„ee E,-,M„.,M..•Y„LrO~U,T onP„agel,O«
tine Sunday to drive to the mountains to
look for a secluded campu spot for the hot
months, or to the Bay and climb around
marinas dreaming of a new boat or query-ing
old timers about the prospects for crabs
this year. (Crab time begins when the Lo-cust
trees bloom, so stop by the road and
examine the buds.)
It's a good month for Montrose Park
and for rapping in Dupont Circle. It's a
good month for sitting on a bench and
brown-bagging the lunch and any number of
restaurants will provide the brown bag filled
with goodies.
In the evenings, when you feel the urge
to go out among people there are the Ameri-can
Bagpipers at the Dubliner on Thursdays.
At Bogies is "Angel" a new name for War- •
bux, Donal Leace holds forth at Tenley
Circle's Mr. Henrys. The Night Hawks and
Sinbad split the month at the Bayou, the
Bill Blue Band is coming to the Childe
Harold, and the Goins Brothers and the
Country Gentlemen are due in at Williams
in Alexandria.
The Free State Jazz Band is at the Twin
Bridges Marriott (Now will it be called the
tri-bridges, or the quartro-bridges) and Fus-ion
is at the Cellar Door. Marshall Hawkins
and all sorts of jazz goodies are at the Rogue
and Jar. The Seldom Scene will make a
seldom seen appearance at the Red Rox
three times in April and the Stoneman
family, once playing all over Washington,
is back at Williams for a now rare appear-,
at
ance. Windwater will be at the Psychedelly
for a number of dates and John Wells stur-dily
holds down the Corsican. Danny Gat-ton
and the plump rascals are both at the
Childe Harold early in the week and then
have some dates at the Varsity Grill in Col-lege
Park.
More information can be had on all of
these inside the paper. See Who's Appear-ing
Where for Music, Theaters are listed
under Theatre Calander and, would you
believe. Art is under Art Exhihits. The
Unicorn made its deadline and all's well
with the world.
JAZZ AT THE SMITHSONIAN
. The National Jazz Ensemble, the most
highly praised of the several new repertory
jazz orchestras in the United States, will be
appearing in concert at the Smithsonian In-stitution
on Sunday, April 13.
The Ensemble, founded and conducted
by bassist-composer Chuck Israels, made its
debut at Wolf Trap Farm Park in June 1973
in a concert which it shared with Sarah
Vaughan. A standard jazz "big band" in
size and instrumentation, the group now
has selections in its repertory ranging from
"Jelly Roll" Morton and Louis Armstrong
through Thelonious Monk and Ornette Col-man,
and includes the music of Bix Beider-becke,
Count Basie, Duke Ellington, Char-lie
Parker, Dizzy Gillespie, Gil Evans, and
John Coltrane as well as Lester Young,
Charlie Christian, Miles Davis, John Lewis,
Horace Silver, and many other jazz com-posers
and performers from all eras and
styles of the music.
The Ensemble is a group of professional,
full-time jazzmen and features such solo-ists
as trombonist Jimmy Knepper (for-merly
with Charles Mingus, among others)
and tenor saxophonist Sal Nistico (who
first came to prominence with Woody Her-man).
The Ensemble will offer both its educa-tional
workshop and it£ concert repertory
in Washington. The free open-to-the-public
workshop will be held at 4:30 and a full
concert at 8 p.m. Bot£ events will be held
in the auditorium of trie Natural History
Museum at 10th and Constitution Avenue,
NW.